A who, what, why, where, whenand how manyof the uncharted world of independent jazz labels

JUSTIN TIME [1983, Canada, 300]Jim West started local with Oliver Jones, then gradually added more
Canadian talent, like Diana Krall and D.D. Jackson. Krall went on
to Verve, but Jackson led to David Murray, who found a home for his
Senegal, Guadeloupe, and Latin Big Band projects. And Murray
brought in Hamiett Bluiett, Abdoulaye N'Diaye. A license deal with
Enja broadens the label's global sweep.David Murray, Like a Kiss That Never Ends (2001)

LEO [1979, UK, 400]For Leo Feigin, jazz was the scent of freedom wafting into his
native Soviet Union via the Voice of America. Later, in England,
the wind shifted when he received a smuggled tape of the Ganelin
Triothe Russian free jazz underground.Ganelin Trio, Ancora Da Capo (1980)

MAXJAZZ [1998, US, 35]Richard McDonnell has put together a handsome series of right-of-center albums, long on piano, longer still on female vocals. Unlike
most conservatives, they're less interested in rolling back
progress than playing within their well-honed talents.René Marie, Vertigo (2001)

NINE WINDS [1977, US, 140]Vinny Golia is the West Coast's answer to John Zorn, all the way
down to running a company that goes way beyond his own voluminous
work. Less hyper, of course: cooler music, smaller catalog.Dick Berk, Bouncin' With Berk (1990)

OKKA DISK [1993, US, 40]Ken Vandermark plays on more than half of Bruno Johnson's discs,
and Vandermark collaborators play on most of the restGeorg Gräwe
and Evan Parker are the only unassociated names to show up as much
as twice, once as a duo.School Days, Crossing Division (2000)

PALMETTO [1990, US, 100]Matt Baltisaris picks "left of center" musicians, takes them to an
old barn in Pennsylvania where he has a studio called Maggie's
Farm, and markets the resulting productions as a creative advance
on the middle of the road. He has scored especially well in
Downbeat's polls. Forget changing the arthe's changing the
public's mind.David Berkman, Communication Theory (2000)

PLAYSCAPE [1999, US, 30]The next step up from a single-artist label is one that documents
a small circle of closely aligned musicians. Michael Musillami's
crew are tight enough they could pass as Thomas Chapin's virtual
ghost band.Tom Christensen, New York School (2004)

RED [1977, Italy, 135]An acronym, not a manifesto, but the music could be called
progressive mainstream. Americans like Dave Liebman and Bobby
Watson have found a home with Sergio Veschi, alongside an imposing
group of Italians.Massimo Urbani, The Blessing (1993)

ROPEADOPE [1999, US, 30]Most titles have a jazz component, but they have something else,
such as the Tin Hat Trio's bluegrass angle or the matchup between
?uestlove, Uri Caine, and Christian McBride on The Philadelphia
Experiment. But is it jazz when the label also sells hats and
jackets?Yohimbe Brothers, Front End Lifter (2002)

SHARP NINE [1995, US, 30]Marc Edelman can get defensive about the hard bop he perfected 40
years ago, but nobody since the '60s has brought it so crisply to
life.David Hazeltine, The Classic Trio (1996)

STEEPLECHASE [1972, Denmark, 635]Built around American emigrésKenny Drew, Duke Jordan, Dexter
Gordonand local bassist Niels-Henning Orsted Pedersen, Nils
Winther's label went on to attract much new talent in the late
'80sJoe Locke, Rick Margitza, Rich Perry, Doug Raney, Steve
Slagle, Dave Stryker, just a few names on a long list.Archie Shepp/Horace Parlan, Goin' Home (1977)

STOMP OFF [1980, US, 400]Nothing old ever dies as long as you keep it working, which is what
Bob Erdos has done here, with a lot of good-old-timey bands for fun
and occasionally someone who finds new angles in Fletcher Henderson
or Fats WallerKeith Nichols, Ted Des Plantes, Marty Grosz.Louisiana Repertory Jazz Ensemble, Hot and Sweet Sounds of Lost
New Orleans (1986)

STORYVILLE [1952, Denmark, 550]Karl Emil Knudsen got his start licensing import 78s, added live
tapes from visitors, picked up old airchecks, dug up series of
Collector's Classics and Nostalgia Arts, and eventually granted
himself a Doctor of Jazz Archaeology. While the catalog is deepest
in trad, it samples later developments, including Scandinavians
ranging from Papa Bue to John Tchicai. Knudsen died in 2003, and
Edition Wilhelm Hansen has taken over the company.Vic Dickenson, Gentleman of the Trombone (1975)

SUNNYSIDE [1982, US, 225]François Zalacain got into the business to make a record for his
friend Harold Danko, and one thing led to another. Not much vision,
but good ears and business sense. They also cherry-pick from other
labels, especially in Europe.Barney Wilen, New York Romance (1994)

TELARC [1980, US, 800]Originally an audiophile classical outfit, Telarc is one of the few
independents that thinks and acts like a majorgetting chain
distribution and winning Grammys. Their jazz lineup is peppered
with namesDave Brubeck, Oscar Peterson, and McCoy Tyner are just
the pianists, with Geri Allen a smart addition.Roseanna Vitro, Catchin' Some Rays (1997]

THIRSTY EAR [1990, US, 90]A rock label with Throbbing Gristle and Scraping Foetus took a
fateful turn in 2000 by hiring Matthew Shipp to direct an avant-
jazz line: the Blue Series. The combination mutated into a fusion
of free jazz and electronics complete with guest DJs, but it also
provides an outlet for Tim Berne and David S. Ware.William Parker, Raining on the Moon (2001)